70 


College of Industrial Arts 
The Texas State College for Women 
Denton, Texas 

PROGRAMS AND SUGGESTIONS FOR STUDY 

FOR 

WOMEN’S CLUBS 

BY 

THE MEMBERS OF THE ENGLISH DEPARTMENT 



wigrap* 



COLLEGE BULLETIN 


c 



NUMBER 100 


APRIL 1, 1922 


Issued monthly by the College of Industrial Arts, Denton, Texas. 
Entered December 17, 1917, Denton, Texas, as second-class matter, 
under Act of Congress, August 24, 1912. 


LIBRARY CF CONGRESS 

RE.CE.IVED 

FEB 9 1926 

% 

DOCUMENTS DIVISION 










EXTENSION DIVISION 


FACULTY COMMITTEE 

LINDSEY BLAYNEY, M. A., Ph. D., LL. D., 
President of the College 

LILLIAN HUMPHRIES, B. S., 

Director, Extension Division 

MARIAN LONG, 

Professor of Interior Decoration 


W. S. DONOHO, B. A., M. A., 

Asvsociate Professor of English 

ASTRID W. NYGREN, B. L. I., 

Instructor in Dramatic Expression 

MARY-LOYING WILSON, B. S., 

Instructor in Costume Design 

* * * 

A Staff of Lecturers, Demonstrators, and Other Extension Workers 
Prom the College Faculty 

* * * 

Requests for Extension Service should be addressed to 

Director, Extension Division 
C. I. A. Station 
Denton, Texas 


285-1125-5M 











f 


\ 



[ 







PROGRAMS AND SUGGESTIONS 


FOR 

WOMEN’S CLUBS 


FOREWORD 

This bulletin contains outlines and programs for the study of 
the novel, of poetry, of the drama, and of the short story. No 
outline or program is exhaustive; each is suggestive only. One 
club may wish to follow one series of programs exactly as given 
in the bulletin. Other clubs may wish to select some of the pro¬ 
grams or only some of the topics suggested in the various outlines. 
In order to aid as many clubs as possible, the writers have made 
some outlines brief and some detailed. The suggestions for the 
study of individual plays of Shakespeare were prepared at the 
request of some women’s clubs. 

It is sincerely hoped that the programs and bibliographies will 
be of material help to the club women of Texas in the preparation 
of year books for their individual clubs. 



6 


College oe Industrial Arts 


THE NOVEL 
L. M. Ellison 
I. Plot 

By plot is meant the action of the story—what happens to the 
characters. In its simplest form it consists of a single sequence 
of events that follow each other in the logical order of cause and 
effect. The word plot, however, means a “weaving together,” and 
the plot of a complex narrative, whether long or short, usually 
consists of the interweaving of two or more strands of causation 
into a single organic structure. 

The study of the plot-structure of a novel may very well begin 
with an analysis of the plot into the different strands of causation 
of which it is composed. The initial incidents in any single 
strand of causation need not necessarily bear any relation to the 
initial incidents of any other strand. Sometimes the several 
strands of a plot are in the beginning far removed from each other 
in space and time. But as each progresses they are brought nearer, 
until at last they are firmly interlaced. This phase of plot de¬ 
velopment is called the tying of the knot ( nouement ). It usually 
embraces about three-fourths of the story. The point at which 
the different strands of causation intersect and become dependent 
for the remainder of their course upon the outcome of a crucial 
event common to all of them, is known variously as the climax, 
the major knot, or simply as the highest point of complication. It 
seldom occupies more than two or three pages of the story. What 
remains of the narrative (usually about one-fourth, in the case of 
novels) is devoted to following the several strands of causation 
as they have been affected by the crucial event that formed the 
climax. This phase of plot development is known as the untying 
of the knot ( denouement ). 

Besides the main plot, as thus outlined, a novel may contain one 
or more sub-plots, i. e., minor strands of causation more or less 
closely articulated with the main strands, but not essential to their 
causal development. Sub-plots are, as a rule, justified only when 


Suggestions foe Women’s Clubs 


7 


they effect a closer and more nearly organic union between the 
strands of the main plot. 

The fundamental artistic requirement of plot-structure is that 
of unity. This demands that in the series of events which consti¬ 
tute the story every scene and every incident shall be an in¬ 
evitable step toward a preconceived goal—the denouement. It 
calls for the rigil exclusion of every device or accessory, whether of 
setting, character, or motivation, which does not assist in mar¬ 
shalling the action toward its logical termination. This is the 
structural ideal. It must be admitted, however, that some great 
English novels fall far short of achieving it. 

The student will be greatly aided in his study of the plot- 
structure of any novel by the following suggestions: 

1. Analyze the plot into the several strands of causation of 

which it is formed. 

2. Test the author’s skill in narrative by observing how ef¬ 

fectually he promotes the development of different strands 
of causation without awkwardness and confusion. 

3. Test the plot for unity as indicated above. Does the author 

try to tell two or more stories at once? Does he finally 
succeed in merging them into a single story ? 

4. If there are sub-plots, separate them from the main plot. 

What purpose is served by them? Do they help to unite 
the strands of the main plot more firmly? Are they in 
theme a contrast or a complement of the main theme? 
Would the structure of the novel be better without them? 

5. Trace in detail the process of interweaving the main strands 

of causation (the nouement). 

6. Fix definitely the point where the different strands become 

so intricately interwoven that their future development 
will depend upon the outcome of the same event. This is 
the so-called climax, the major knot. 

7. Trace throughout the remainder of the story the process of 

untying the knot and bringing the series of events to a 
logical termination. This is termed the denouement, or 
resolution of the plot. 


College op Industrial Arts 


8. Is the suspense occasioned by the progress of the plot com¬ 

pletely allayed by this resolution, or are some lines of 
interest left unsatisfied? 

9. How skillful has the author been throughout the story in 

arousing and holding suspense? Does the interest in plot 
development grow with the story or does interest lapse at 
times ? 

10. What part does accident play in the story? Are all events 

the result of an adequate cause? Note particularly whether 
the resolution of the plot is the result of forces inside the 
story itself, or whether external forces are brought in to 
help in untying the knot. 

11. As you look backward over the story from its termination, 

does its whole course appear to have been clearly seen by 
the writer before he began, or was the drift of events 
determined in part by the exigencies of the moment? (The 
answer to this question may be determined by the directness 
with which each detail of the plot bears upon the culmina¬ 
tion.) 

12. Does it seem probable that the author stood, in imagination, 

at the culmination of the series of events and worked back¬ 
ward from effect to cause, or that he worked in the reverse 
order, from cause to effect? 

13. Is the story extensive or intensive in scope? i. e., does it 

involve many characters, in a wide view of life, or does it 
concentrate its forces upon a few characters in compar¬ 
atively narrow human relations ? 

14. How much of the story does the author undertake to tell ? 

i. e., does he represent important events in the series as 
having already taken place at the opening of his story, 
leaving him free to trace the series in its later develop¬ 
ments, or does he include in his narrative a very extended 
sequence of events which he undertakes to follow through 
its whole course? 

15. Does the germ of the story seem to have been conceived as a 

character or a group of characters for whose exhibition the 


Suggestions for Women’s Clubs 


9 


action was devised, or as a series of events to which the 
characters were fitted? 

II. The Characters 

1. Prom what social levels are the leading characters drawn? 

2. Are the characters worth the time and energy spent in 

making their acquaintance? (It is of course unnecessary 
that a character be good in order to be worth knowing. 
Some of the most important phases of life are presented 
through evil characters.) 

3. Are the leading characters representative—i. e., are they of 

sufficient magnitude to be typical of the class to which they 
belong ? 

4. Are they, at the same time, individual—sharply differentiated 

as personal entities from all other members of the class? 
(Merely typical characters, who lack the angularities of the 
individual, approximate to abstractions; merely individual 
characters, who lack the broadly representative human 
traits, approximate to caricatures.) 

5. Do the characters grow or change in any way during the 

progress of the story, or do they remain static throughout ? 

6. Does the author ever take sides for or against his characters 

and endeavor to interpret their actions for the reader ? 

7. It is often both interesting and profitable to study the means 

employed by a writer in presenting his characters as living 
personalities. He may stand to them in the direct relation 
of exhibitor, acquainting the reader with their natures by 
his own explanation of them; he may proceed more con¬ 
cretely to an appraisal of them by describing the significant 
details of their personal appearance; or he may, by virtue 
of his omniscient point of view, lay bare to the reader their 
most secret mental processes. The writer may, however, 
prefer the more detached and dramatic method of allowing 
a character to exhibit himself. This he will do in what he 
says, in what he does, and, less completely, in the way in 
which he reacts to his environment. Of course, no writer 


10 


College of Industrial Arts 


will use any one method exclusively. The complete por¬ 
trayal of the more subtle types of charatcer will call for 
the employment of all of them. 

III. Setting 

By setting is meant the circumstances of time and place under 
which the events of the story occur. Like the background in a 
picture, it affords perspective, and throws into greater relief the 
important places, persons, and incidents of the story. Besides 
effecting these purposes, it has in recent fiction been put to much 
more subtle uses. The student may consider to advantage the 
following matters in the analysis of the setting of any novel: 

1. Is the setting clearly and elaborately drawn or only vaguely 

suggested ? 

2. Are its elements of landscape, scenery, etc., conventional, or 

are they definitely localized? 

3. Does the setting exist for decorative purposes only, or is it 

brought into vital relations with the story? 

4. Is the setting ever allowed to become obtrusive and obscure 

the more essential elements of action and character? 

5. Is the setting designed to afford an appropriate and natural 

adjunct to the action, like the scenery and properties of the 
stage ? 

6. Is it appropriate to the characters as well as to the action? 

7. Is the setting employed to emphasize, either by harmony or 

by contrast, the moods of the characters or the causes of 
the action? 

8. Is the emotional contrast between the setting and the mood 

of the characters pushed to the point of irony? 

9. In some recent novels setting becomes the determinative in¬ 

fluence upon both action and character. Circumstances, in 
some instances, actually seem possessed of creative power, 
and function as cause in a chain of events. “It is environ¬ 
ment,” says Zola, “which determines and completes the 


Suggestions eor Women’s Clubs 


.11 


man.” In examining these more philosophical uses of set¬ 
ting, the student may inquire: 

(1) Whether the setting seems to have been the initial 

element of the story—whether the action and the 
characters were created to express and to realize it; 

(2) Whether the setting exercises a causal influence upon 

the action and becomes the deciding factor in de¬ 
termining its course; 

(3) Whether the setting is used as the primary influence 

in shaping and determining character. 


12 


College oe Industrial Arts 


A BIBLIOGRAPHY FOR THE STUDY OF THE HOVEL 
I. Historical Treatises 

Cross, Wilbur L.: “The Development of the English Hovel/’ 
The Macmillan Co., Hew York, 1912. 

Dunlop, John Colin: “History of Prose Fiction,” Ed. by H. 
Wilson, Geo. Bell & Sons, London, 1888. 

Jusserand, J. J.: “The English Hovel in the Time of Shakes¬ 
peare,” Fisher Unwin, London, 1894. 

Raleigh, Walter: “The English Hovel,” Charles Scribner’s 
Sons, London, 1899. 

Saintsbury, George: “The English Hovel,” E. P. Dutton & 
Company, Hew York, 1913. 

Stoddard, F. H.: “The Evolution of the English Hovel,” The 
Macmillan Co., Hew York, 1900. 

Tuckerman, Bayard: “A History of English Prose Fiction,” 
Hew York, 1891. 

Van Doren, Carl: “The American Hovel,” The Macmillan Co., 
Hew York, 1921. 

Van Doren, Carl: “Contemporary American Hovelists,” The 
Macmillan Co., Hew York, 1922. 

Warren, F. W.: “A History of the Hovel Previous to the 
Seventeenth Century,” Henry Holt & Co., Hew York, 1895. 

Williams, Harold: “Two Centuries of the English Hovel,” 
Smith, Elder & Co., London, 1911. 

II. The Technical and Philosophical Aspects of Fiction 

Besant, Sir Walter: “The Art of Fiction,” Cupples & Upham, 
Boston. 

Follett, Wilson: “The Modern Hovel,” Alfred A. Knopf, Hew 
York, 1918. 

Hamilton, Clayton: “A Manual of the Art of Fiction,” Double¬ 
day, Page & Co., Hew York, 1918. 


Suggestions eoe Women’s Clubs 


13 


Howells, W. D.: "Criticism and Fiction/’ Harper Bros. & Co., 
Hew York, 1893. 

Lathrop, H. B.: "The Art of the Novelist,” Dodd, Mead & Co., 
Hew York, 1919. 

Perry, Bliss: "A Study of Prose Fiction,” Houghton, Mifflin 
Co., Boston, 1902. 

Zola, Emile: "Le Boman Experimental” (The Experimental 
Hovel), English Translation by B. M. Sherman, Cassell & Co., 
London and Hew York, 1893. 

III. Critical Treatises 

Brownwell, W. C.: "Victorian Prose Masters,” Charles Scrib¬ 
ner’s Sons, Hew York, 1901. 

Brownwell, W. C.: "American Prose Masters,” Charles Scrib¬ 
ner’s Sons, Hew York, 1909. 

Burton, Bichard: "Masters of the English Hovel: A Study of 
Principles and Personalities,” Henry Holt & Co., Hew York, 1909. 

Cooper, Frederic Tabor: "Some English Story Tellers,” Henry 
Holt & Co., Hew York, 1902. 

Cooper, F. T.: "Some American Story Tellers,” Henry Holt & 
Co., Hew York, 1911. 

Dawson, W. J.: "The Makers of English Fiction,” F. H. 
Bevell Co., Chicago, 1905. 

Follett, Helen Thomas and Wilson: "Some Modern Hovelists,” 
Henry Holt, Hew York, 1918. 

Gordon, George : "The Men Who Make Our Hovels,” Moffat, 
Yard & Co., Hew York, 1919. 

Lanier, Sidney: "The English Hovel and the Principles of Its 
Development,” Charles Scribner’s Sons, Hew York, 1883. 

Overton, Grant: "The Women Who Make Our Hovels,” Moffat, 
Yard & Co., Hew York, 1918. 

Phelps, W. L.: "The Advance of the English Hovel,” Dodd, 
Mead & Co., 1916. 

Phelps, W. L.: "Essays on Modern Hovelists,” The Macmillan 
Company, Hew York, 1910. 


14 


College oe Industrial Arts 


A Reading List Illustrating the Historical Development of the 

Novel 

Malory, Sir Thomas: "Morte Darthur.” 1485. E. P. Dutton 
& Co., New York. 

Defoe, Daniel: "Bobinson Crusoe.” 1719. Dutton. 
Bichardson, Samuel: "Clarissa Harlowe.” 1748. Henry Holt 
& Co., New York. 

Fielding, Henry: "Tom Jones.” 1749. G. Bell & Sons, 
London. 

Burney, Frances: "Evelina.” 1778. Dutton. 

Austen, Jane: "Pride and Prejudice.” 1813. Dutton. 

Scott, Sir Walter: "Kenilworth.” 1821. Dutton. 

Thackeray, W. M.: "Vanity Fair.” 1848. Dutton. 

Dickens, Charles: "David Copperfield.” 1850. Dutton. 
Hawthorne, N.: "The House of the Seven Gables.” 1851. 
Dutton. 

Eliot, George: "Adam Bede.” 1859. Dutton. 

Meredith, George: "The Ordeal of Bichard Feverel.” 1859. 
Charles Scribner’s Sons, New York. 

Hardy, Thomas: "The Beturn of the Native.” 1878. Harper 

& Bros., New York. 

James, Henry: "The American.” 1877. Scribner’s. 

Howells, W. D.: "A Modem Instance.” 1883. Houghton, 
Mifflin Co., Boston. 

Stevenson, B. L.: "Treasure Island.” 1883. Dutton. 
Bennett, Arnold: "The Old Wives’ Tale,” E. P. Doran & Co., 
New York, 1908. 


Suggestions por Women’s Clubs 


15 


SUGGESTED COURSES OF READING IN THE NOVEL 
OF PARTICULAR TYPES 

7. The Romance of Mystery and Terror 

Walpole, Horace: “The Castle of Otranto.” 1764. Cassell & 
Co., London. 

Radcliffe, Anne: “The Mysteries of Udolpho.” 1794. Dutton 
& Co., New York. 

Godwin, William: “Caleb Williams.” 1795. Routledge & 
Sons, London. 

Shelley, Mary W.: “Frankenstein.” 1818. Dutton. 

Maturin, Charles R.: “Melmoth, the Wanderer.” 1820. R. 
Bentley & Sons, London. 

Poe, Edgar Allan: “Tales of Mystery.” 1839. Dutton. 
Hawthorne, N.: “The House of the Seven Gables.” 1851. 
Dutton. 

Bronte, Emily: “Wuthering Heights.” 1847. Dutton. 
Collins, W.: “The Woman in White.” 1860. Dutton. 
Students of this species of fiction will be interested in 
Birkhead, Edith: “The Tale of Terror,” E. P. Dutton, New 
York, and 

Scarborough, Dorothy: “The Supernatural in English Fiction,” 
G. P. Putnam’s Sons, New York. 

II. Social Realism. The Novel of Manners 


Burney, Frances: 
York. 

: “Evelina.” 1778. 

E. P. 

Dutton, 

Edgeworth, Maria 

: “Castle Rackrent.” 

1800. 

Dutton. 

Austen, Jane: “Sense and Sensibility.” 

1811. 

Dutton. 

Mitford, Mary: ‘ 

f Our Village.” 1824. 

Dutton. 

Dickens, Charles: 

“Nicholas Nickleby.” 

1839. 

Dutton. 


Thackeray, W. M.: “Pendennis.” 1850. Dutton. 
Trollope, Anthony: “The Warden.” 1855. Dutton. 
Eliot, George: “The Mill on the Floss.” 1860. Dutton. 


16 


College of Industrial Arts 


Gaskell, Mrs.: “Cranford.” 1853. Dutton. 

Oliphant, Margaret: “The Rector.” 1863. Blackmead, Lon¬ 
don. 

Meredith, Geo.: “Diana of the Crossways.” 1885. Scribner’s. 

Howells, W. D.: “The Rise of Silas Lapham.” 1885. Hough¬ 
ton, Mifflin Co. 

De Morgan, Wm.: “Joseph Vance,” Henry Holt, New York, 
1906. 

Marshall, Archibald: “The Graftons,” D. Appleton, New York, 
1916. 

The interested reader may consult “The Rise of the Novel of 
Manners,” by Charlotte E. Morgan, the Columbia University Press, 
New York. 

The Historical Novel 

Scott, Sir Walter: “Waverly.” 1814. E. P. Dutton, New 
York. 

Bulwer-Lytton, E.: “The Last Days of Pompeii.” 1834. 
Dutton. 

Dickens, Charles: “Barnaby Rudge.” 1841. Dutton. 

Thackeray, W. M.: “Henry Esmond.” 1852. Dutton. 

Kingsley, Charles: “Westward Ho!” 1855. Dutton. 

Reade, Charles: “The Cloister and the Hearth.” 1861. Dut¬ 
ton. 

Eliot, George: “Romola.” 1863. Dutton. 

Stevenson, R. L.: “Kidnapped.” 1886. Scribner’s. 

Pater, Walter: “Marius, the Epicurean.” 1892. Macmillan. 

Crane, Stephen: “The Red Badge of Courage.” 1895. Mac¬ 
millan. 

Wharton, Edith: “The Valley of Decision.” 1902. Scrib¬ 
ner’s. 

Belloc, Hilaire: “The Girondin.” 1911. Nelson, London. 


Suggestions eoe Women’s Clubs 


17 


IV. The Novel of Social and Humanitarian Reform 

Disraeli, Benjamin: “Coningsby.” 1844. E. P. Dutton, New 
York. 

Gaskell, Mrs. Elizabeth Cleghorn: “Mary Barton.” 1848. 
Dutton. 

Gaskell, Mrs.: “North and South.” 1855. Dutton. 

Dickens, Charles: “Oliver Twist.” 1840. Macmillan, New 
York. 

Dickens, Charles: “Hard Times.” 1854. Dutton. 

Kingsley, Charles: “Alton Locke.” 1850. Dutton. 

Kingsley, Charles: “Yeast.” 1851. Dutton. 

Beade, Charles: “It Is Never Too Late to Mend.” 1856. 
Dana Estes, Boston. 

Reade, Charles: “Hard Cash.” 1863. Dana Estes, Boston. 
Gissing, George: “Demos.” 1886. Smith, Elder & Co., Lon¬ 
don. 

Shaw, Bernard: “Cashell Byron’s Profession.” 1886. Bren- 
tano. New York. 

Schreiner, Olive: “The Story of An African Farm.” 1883. 
Little, Brown & Co. 

Beasant, Sir Walter Scott: “All Sorts and Conditions of Men.” 
1882. Methuen & Co., London. 

Belloc, Hilaire: “A Change in the Cabinet.” 1909. Methuen 
& Co., London. 

Galsworthy, John: “The Patrician.” 1911. Charles Scrib¬ 
ner’s Sons, New York. 

V. The Regional Novel. Local Color 

Cooper, J. Fenimore: “The Last of the Mohicans.” 1826. 
Dutton. 

Lover, Samuel: “Handy Andy.” 1843. Dutton. 

Borrow, George: “Lavengro.” 1851. Dutton. 

Macdonald, George: “Sir Gibbie.” 1879. Dutton. 


18 


College of Industrial Arts 


Hardy, Thomas: “The Return of the Native/’ Harper’s, New 
York, 1878. 

Hudson, W. H.: “The Purple Land,” Dutton, 1885. 

Twain, Mark: “The Adventures of Tom Sawyer,” Harper’s, 
1876. 

Barrie, J. M.: “The Little Minister,” Scribner’s, 1891. 
Kipling, Rudyard: “Kim,” Doubleday, Page & Co., New York, 
1901. 

Cable, G. W.: “The Grandissimes,” Scribner’s, 1880. 

Conrad, Joseph: “Lord Jim,” Doubleday, Page & Co., New 
York, 1900. 

Norris, Prank: “The Octopus,” Doubleday, Page & Co., New 
York, 1901. 

Phillpotts, Eden: “Children of the Mists,” G. P. Putnam’s 
Sons, New York, 1899. 

Trevena, John: “Purze” (also “Heather” and “Granite”), 
Moffat, Yard & Co., New York, 1912. 

VI. Philosophical Realism. Naturalism 

Ward, Mrs. Humphrey: “Robert Elsmere,” Macmillan, 1888. 
Hardy, Thomas: “Tess of the D’Urbervilles,” Harper’s, 1891. 
Hardy, Thomas: “Jude the Obscure,” Harper’s, 1895. 

Moore, George: “Esther Waters,” Walter Scott, London, 1894. 
Maugham, W. S.: “Liza of Lambeth,” Fisher Unwin, London, 
1897. 

De Morgan, Wm.: “An Affair of Dishonor,” Henry Holt, New 
York, 1911. 

Wharton, Edith: “The House of Mirth,” Scribner’s, 1905. 
Butler, Samuel: “The Way of All Flesh” (written 1872-84), 
Boni and Liveright, New York, 1903. 

Cannan, Gilbert: “Mendel,” George H. Doran, New York, 

1916. 

Cannan, Gilbert : “Old Mole,” Dodd, Mead & Co., New York, 

1917. 


Suggestions foe Women’s Clubs 


W 


Dreiser, Theodore: “Sister Carrie,” Harper’s, 1900. 

Dreiser, Theodore: “Jennie Gerhardt,” Harper’s, 1911. 

Students of naturalism in contemporary English and American 
fiction should by all means read something of the continental 
fiction that inspired it. The following are suggested: 

Flaubert: “Madame Bovary,” Boni and Liveright, Hew York. 
Zola: “The Debacle,” D. C. Heath & Co., Hew York. 
Maupassant: “A Woman’s Life,” S. Brainard’s Sons, Hew 
York. 

Tolstoi: “Anna Karenina,” E. P. Dutton & Co., Hew York. 
Dostoieffski: “Crime and Punishment,” Dutton. 

France, Anatole: “The Bed Lily,” Boni and Liveright. 


20 


College of Industrial Arts 


I fflt ' 

BROWNING 

W. S. DONOHO 

Lesson I. 

; 

Browning Himself 

I. Poems of Autobiographical Interest. 

A. "Waring.” 

B. "The Guardian Angel.” 

C. "Women and Boses.” 

D. "One Word More.” 

E. "Why I Am a Liberal.” 

E. "Epilogue to Asolando.” 

II. Topics for Paper or Discussion. 

A. Browning and his Relation to Others. 

B. Browning and his Relation to his Age. 

III. Questions. 

A. Did Browning express his personal opinion through 

his characters? 

B. What type of friendship does Browning set forth in 

"Waring” and in "The Guardian Angel”? 

C. As exemplified in "Women and Roses” and "One 

Word More,” how did he regard his wife ? 

D. What was his attitude to liberty as indicated in "Why 

I am a Liberal” ? 

E. How does his wonderful faith reveal itself in the 

"Epilogue to Asolando”? 

F. Sum up the characteristics of Browning as indicated 

by these poems. 


Suggestions foe Women’s Clubs 


21 


Lesson II. 

Poems of Adventure and Heroism 

I. Poems. 

A. “How They Brought the Good News from Ghent to 

Aix.” 

B. “Tray.” 

C. “Herve Riel.” 

D. “Incident of the French Camp.” 

II. Topic for paper or discussion. 

A. Browning’s Method of Holding Interest as Indicated 
by Each of these Poems. 

III. Questions for discussion. 

Poem One 

A. Who tells the story ? 

B. Does the poet use many words hard to understand? 

C. Would the poem be more interesting if we knew what 

news was carried? 

D. What makes the poem interesting? 

E. Is it possible for a horse to gallop as far as Roland is 

represented to have galloped ? 

Poem Two 

A. What are the aspects of the situation that appeal to 

the bystanders? 

B. Is the poet in sympathy with the dog or with the 

bystanders ? 

C. Is the poem chiefly interesting because of its pointing 

a moral against vivisection ? 

Poem Three 

A. What image in the first stanza gives a picture of the 

whole situation? 

B. How is the desperateness of the situation shown in 

the third stanza ? 

C. Does the interest of the poem cease with the end of 

the adventure? 


22 


College oe Industrial Arts 


::C 


Poem Four 

A. Who tells the story? 

B. In the first stanza what picture is given of Napoleon ? 

C. What is the incident ? 

D. Does the climax of the effect of the poem consist in 

the portrayal of the love of country, of the glory 
of France, of the character of Napoleon, or of the 
devotion of the youth? 

Lesson III 
Folic Poems 

I. Poems. 

A. “The Boy and the Angel.” 

B. “The Pied Piper of Hamelin.” 

C. “Gold Hair.” 

D. “The Cardinal and the Dog.” 

E. “Muckle-Mouth Meg.” 

II. Topics for paper or discussion. 

A. The Manner of Presenting the Subject Matter of the 

Poem. 

B. The Real Meaning of the Poem. 

III. Questions for discussion. 

A. Do you like one poem better than the other, or do you 

like each for its own special quality? 

B. What do you note about the rhythm and rhyme, the 

poetic ornamentation, the imaginative quality, and 
the humor of the poems ? 


I. 


Poems. 

A. 

B. 

C. 

D. 

E. 


Lesson IY 
Husbands and Wives 

“By the Fireside.” 

“Any Wife to Any Husband.” 
“My Last Duchess.” 

“The Flight of the Duchess.” 
“The Statue and the Bust.” 


Suggestions eok Women’s Clubs 


23 


II. Topic for paper or discussion. 

A. The True Eelation of Husband and Wife as Indi¬ 
cated by Any or All of these Poems. 

III. Questions for discussion. 

Poem One 

A. What idea is given of the man personally, as to his 

observation of nature, culture, character, etc.? 

B. What idea is given of the woman? 

Poem Two 

A. How does the poem reveal the character of the wife 

and of the husband ? 

B. How does the revelation of the two compare with that 

in “By the Fireside”? 

Poem Three 

A. How does the duke reveal his true character ? 

B. How is the wife’s true character revealed? 

C. Enumerate the outstanding traits of both the hus¬ 

band and the wife. 

Poem Four 

A. In what way is the husband shown to be a weakling ? 

B. What is the nature of the gypsy crone’s appeal to 

the wife? 

C. Does the huntsman sum up well the characters and 

the situation at the last of the poem? 

D. What idea does his story-telling give of his own 

character ? 

Poem Five 

A. Compare the husband in this poem with the husband 

in “My Last Duchess.” 

B. Compare the wife with the wife in “My Last 

Duchess.” 

C. What do you think of Browning’s If-you-choose-to- 

play-principle ? 


24 


College of Industrial Arts 


I. 


Lesson V 
The Poet 

Poems. 

A. “Memorabilia.” 

B. “Popularity.” 

C. “How It Strikes a Contemporary.” 


II. Topics for paper or discussion. 

A. The Nature of a Poet. 

B. The Poet and the World. 


III. Questions. 

Poem One 

A. What wonder is expressed in the first two stanzas ? 

B. What is the difference between the speaker and the 

one he has met? 

C. In the figures that follow what do the moor and the 

eagle’s feather stand for ? 

Poem Two 

A. What is the meaning of the metaphors found in the 

second and third stanzas? 

B. In what way does Keats resemble the fisherman who 

brings up the shells that contain the Tyrian dye ? 

C. How is Keats contrasted with his contemporaries ? 

Poem Three 

A. How does the speaker regard the poet? 

B. From what the speaker says what kind of poet do 

you judge the man to be? 

C. How does the speaker describe the poet’s clothes? 

D. Does the speaker describe himself fully, as well as 

the poet ? 


Suggestions eor Women’s Clubs 


25 


Lesson YI 
“Childe Roland'” 

I. Topics for paper or discussion. 

A. The Undaunted Spirit of Childe Roland, the Knight. 

B. Was Childe Roland’s Quest a Success or a Failure ? 

II. Questions. 

A. At what point in his quest do we first see the hero ? 

B. What is his mood ? 

C. What does he do after he meets the cripple ? 

D. How does the landscape appear to him as he goes on ? 

E. What memories come to add to the horror of the 

scene ? 

F. What is the significance of the blowing of the horn 

at the end of the quest ? 

G. Does the final scene depict a mood of failure and 

warning to others ? 

Lesson YII 
. .English National Life 

I. Political Poems. 

A. "Cavalier Tunes.” 

B. "The Lost Leader.” 

C. "Why I am a Liberal.” 

II. Questions for discussion. 

Poem One 

A. "Marching Along.” 

1. In what period of history is the speaker living ? 

2. What expressions show confidence in the 

King’s success? 

B. "Give a Rouse.” 

1. How does this song differ in spirit from the 

preceding ? 

2. What is the condition of the King’s cause 

now? 


26 


College of Industrial Arts 


3. What experience has the speaker had in the 
service of the King ? 

C. “Boot and Saddle.” 

1. What is the object of the ride? 

2. How does this song compare in spirit with 

the two preceding poems? 

3. What success has Browning in interpreting 

the cavalier spirit ? 

Poem Two 

A. What does the speaker tell about the “lost leader,” 

his character, and the act ? 

B. What impressions does the speaker make on one? 

C. What idea of heaven is given at the last of the poem ? 

D. Did Browning have a particular leader in mind ? 

Poem Three 

A. What are Browning’s reasons for being a liberal in 

politics ? 

B. Compare the idea in this poem with that in “The 

Lost Leader.” 


III. Poems on Love for Country. 

A. Poems. 

1. “Home Thoughts from the Sea.” 

2. “Home Thoughts from Abroad.” 

3. “De Gustibus.” 

B. Questions for discussion. 


Poem One. 

1 . 

2 . 

3. 

Poem Two. 

1 . 

2 . 

3. 


Where is the poet? 

What places of historical interest does he see ? 
How is the poet moved by these scenes ? 


What aspects of nature in England are men¬ 
tioned ? 

What contrast with Italian scenery is sug¬ 
gested in the last line? 

Point out the highly descriptive passages. 


Suggestions foe Women’s Clubs 


27 


Poem Three. 

1. What different tastes are indicated in this 

poem? 

2. What aspects of the English nature scenes are 

suggested ? 

3. Why did Browning love Italy? 

Lesson YIII 

Browning’s Theory of Romantic Love 

I. Poems. 

A. "The Laboratory.” 

B. "Evelyn Hope.” 

C. "Love Among the Ruins.” 

D. "The Last Ride Together.” 

E. "Youth and Art.” 

II. Topic for paper or discussion. 

A. Some Characteristics of the Lover in Each of the 
Poems. 

III. Questions for discussion. 

Poem One. 

A. How does the woman show that she is a rejected 

lover ? 

B. Does she have an ideal of love? 

C. Does she show any of the spirit of self-sacrifice as 

some of Browning’s rejected lovers do? 

D. How does her own talk reveal her character ? 

Poem Two. 

A. Who is speaking? 

B. Is he speaking to himself or to someone else ? 

C. Describe Evelyn Hope from the references to her. 

D. What was the relation between the speaker and 

Evelyn Hope ? 

E. Why is he resigned and confident? 


College of Industrial Arts 


Poem Three. 

A. What scene does the poem set forth? 

B. In what way are the grandeur and martial spirit of 

the old Romans presented ? 

C. What are some of the contrasts of the past glories 

and present ruins ? 

D. In what way does the poet indicate that love is the 

. supreme thing? 

Poem Four. 

A. Who is the speaker? 

B. To whom does he speak? 

C. What spirit does the speaker manifest in the first 

stanza ? 

D. What seem to be his reflections through stanza eight ? 

E. How is his sublime optimism shown in stanza nine ? 

E. What is his concluding reflection ? 

Poem Five. 

A. What opinion did the young people have of each 

other ? 

B. Why did they not marry ? 

C. After both had become famous in their chosen art, 

how did the woman consider their lives—a success 
or a failure? 

Lesson IX 

Browning: The Poet of Optimism 

I. Poems. 

A. “Saul.” 

B. “Pippa Passes.” 

C. “Rabbi Ben Ezra.” 

D. “Prospice.” 

E. “Epilogue to Asolando.” 

II. Topics for discussion. 

A. Brownings Optimism a Feed of the Present Day. 

B. Browning’s Optimism in an Age of Doubt. 


Suggestions eok Women’s Clubs 


29 


III. Questions. 

Poem One. 

A. Why has Saul come to such a state of despair ? 

B. For what purpose has David come to him ? 

C. Note how the abundant optimism of David is based 

on his great faith in the Christ. 

Poem Two. 

A. What is Pippa’s lot in life? 

B. How does she accept that lot? 

C. Note how the optimism of her youth shows itself in 

her songs, in her acts, and in her vivid imagination. 

Poem Three. 

A. Note especially the basis of Babbi Ben Ezra’s 

optimism in stanza one by such expressions as 
“grow,” “trust God,” “see all,” “nor be afraid.” 

B. Show how the old Babbi is a wonderful optimist in 

the presence of the disappointments, hardships, 
and troubles of life. 

C. Then note how to him old age and death are the 

crowning events of life. 

Poems Four and Five. 

A. In what ways does Browning’s supreme optimism 
reveal itself in his views concerning death and 
immortality ? 


30 


College op Industeial Aets 


BIBLIOGRAPHY 

Books Especially Helppul to Beowning Study 

1. Hiram Corson: “An Introduction to the Study of Robert 
Browning’s Poetry/’ D. C. Health & Co., Boston, 1886. 

2. Arthur Symons: “An Introduction to the Study of Brown¬ 
ing,” Cassell & Co., London, 1886. 

3. William Sharp: “Life of Robert Browning,” Walter Scott 
& Co., London, 1897. 

4. C. K. Chesterton: “Robert Browning,” The Macmillan Co., 
Dallas, 1903. 

5. Charlotte Porter and Helen A. Clarke: “Browning Study 
Programmes” (Good for many suggestions), Crowell & Co., New 
York, 1900. 

6. Thomas R. Lounsbury: “The Early Literary Career of 
Robert Browning,” Scribner & Sons, New York, 1911. 

7. W. L. Phelps: “Browning: How to Know Him” (Excel¬ 
lent), The Bobbs-Merrill Co., New York, 1915. 

1. “The Works of Browning,” New Edition (Excellent one- 
volume edition), The Macmillan Co., New York, 1919. 

2. Charlotte Porter and Helen A. Clarke: “Robert Brown¬ 
ing’s Complete Poems in Twelve Volumes” (An excellent edi¬ 
tion), Crowell & Co., New York, 1898. 


Suggestions eor Women’s Clubs 


31 


CONTEMPORARY POETRY 
Susan F. Cobb 

FOREWORD 

The following programs have been worked out with two ideas 
in mind: (1) that the club would desire a general idea of con¬ 
temporary poetry rather than an intensive study of the historical 
development of particular types; and (2), that it would not have 
at hand, nor would it care to purchase, a great variety of books 
upon contemporary literature. In accord with the first of these 
ideas, then, all mention of the poets of the Victorian school and of 
the Georgian school as such, has been avoided. The emphasis has 
been laid rather upon an understanding of the aims of the young 
poets and of the qualities of their verse. So far as has seemed 
practicable the specific studies have been confined to outstanding 
American poets. 

In consideration of the second point, the purchase of only two 
books is suggested: "New Voices,” by Marguerite Wilkinson, The 
Macmillan Company, and “Tendencies in Modern American 
Poetry,” by Amy Lowell, The Macmillan Company. Since the first 
of these is only an anthology and since the study suggested is 
based largely upon it, it would be better for every member of the 
club to own a copy. With a close study of these two books and 
the illustrative samples included in them, it is possible to carry 
out all general topics on the programs suggested, except those of 
the supplementary lesson on contemporary Irish poets. 

For roll call such subjects as Texas poets, poets who are also 
critics or who are also novelists, children who are prodigies in 
literature and art, or interesting biographical facts concerning the 
poets in the lesson, may be used effectively. 


32 


College of Industrial Arts 


GENERAL STUDY OE CONTEMPORARY POETRY 


A. 


Lesson I 


Topics. 

1. The Pattern of a Poem—with round table discussion 

of illustrative examples. 

2. The Themes of the New Poetry: Democracy. 

3. John Masefield’s “The Widow in the Bye-Street/’ or 

“The Everlasting Mercy.” 


B. References. 

1 and 2. “New Voices”: M. Wilkinson, the Macmillan 
Co., New York. 

3. “The Widow in the Bye-Street”: J. Masefield, Mac¬ 
millan Co., New York. 

“The Everlasting Mercy”: J. Masefield, Macmillan Co., 
New York. 


A. 


Lesson II 


Topics. 

1. Rhythm in the New Poetry, with special assignments of 

a. The Santa Fe Trail”—Vachel Lindsay. 

b. “The Listeners”—Walter de la Mare. 

2. Themes of the New Poetry: “Patriotism.” 

3. Vachel Lindsay’s “Johnny Appleseed.” 


B. References. 

1 and 2. “New Voices”: M. Wilkinson, the Macmillan 
Co., Dallas or New York. 

3. “The Chinese Nightingale”: Vachel Lindsay, the Mac¬ 
millan Co. 

“The Golden Whales of California”: V. Lindsay, the 
Macmillan Co. 

“The Congo and Other Poems”: V. Lindsay, the Mac¬ 
millan Co. 

“The Century Magazine”: August, 1920. 


Suggestions foe Women’s Clubs 


33 


A. 


Lesson III 

Topics. 

1. Images and Symbols in the New Poetry. 

2. Carl Sandburg. 

3. John Gould Fletcher. 


B. References. 

1. “New Voices: M. Wilkinson, the Macmillan Co., New 

York. 

2. “Modern Tendencies in American Poetry”: Amy 

Lowell, the Macmillan Co., New York. 

“Chicago Poems”: Carl Sandburg, Henry Holt & Co., 
New York. 

“Comhuskers”: Carl Sandburg, Henry Holt & Co., 
New York. 

“Modern Tendencies in American Poetry”: Amy 

Lowell, the Macmillan Co., New York. 

“Arizona Poems”: John Gould Fletcher, Houghton- 
Mifflin Co., Boston. 

“Irradiations”: John Gould Fletcher, Houghton-Mifflin 
Co., Boston. 


A. 


Lesson IV 

Topics. 

1. Am y Lowell, the Foremost of the Imagists. 

2. Color in Amy Lowell’s Verse. 

3. Pictures from “Trifles, Scents,—Textures” in Amy 

Lowell’s Verse. 

4. Rabindranath Tagore, the Symbolist. 


B. References. 

1. “High Priestess of Vers Libre”: Literary Digest 
52: (’16) 971. 

“Advance of English Poetry in the Twentieth Cen¬ 
tury”: W. L. Phelps (pt. VIII), Dodd, Mead & 
Co., New York. 

2 and 3. “A Dome of Many Colored Glass”: Amy Iowell, 
Houghton-Mifflin Co., Boston. 


34 


College of Industrial Arts 


A. 


“Sword Blades and Poppy Seed”: Amy Lowell, Hough- 
ton-Mifflin Co., Boston. 

4. “Gitanjali”: Babindranath Tagore, the Macmillan Co., 
New York. 

Lesson Y 

Topics. 

1. The Wordsworthian Theory of Poetic Diction. 

2. Diction in the New Poetry. 

3. Themes of Contemporary Poetry: Love. 

4. The New Love Lyric. 


B. Beferences. 

1. “Biographia Literaria”: S. T. Coleridge, E. P. Dutton, 
New York. 

2 and 3. “New Voices”: M. Wilkinson, the Macmillan 
Co., New York. 

4. “Poets and Prefaces”: “The Dial,” January, 1921. 


A. 


Lesson YI 


Topics. 

1. A Study of D. H. Lawrence, according to 

a. Color and Imagery in his Poetry, 
h. Diction. 

c. Aspects of Nature and Human Life Treated. 

2. Sara Teasdale, an American Poet of Love. 

3. A Contrast of Sara Teasdale with the Imagists. 


B. Beferences. 

1. “Love Poems and Others”: Lawrence, Settzers, New 
York. 

“Georgian Poetry” (1912-1915), Putnam’s, New York. 
“Some Imagist Poets” (1915-1916), Houghton-Mifflin 
Co., Boston. 

Beviews and Critical Studies in: 

“The Bookman” 46 (’18) : 644: “The Dial” 70 (’21) : 
458. 


Suggestions for Women’s Clubs 


35 


“The Independent” 83 (’15): 297; “The New Re¬ 
public” 23 (’20): 314. 

2 and 3. “New Voices”: M. Wilkinson, the Macmillan 
Co., Dallas. 

“Tendencies in Modern American Poetry”: A. Lowell, 
the Macmillan Co., New York. 

“Anthology of Magazine Verse,” 1915; Braithwaite 
(Intro, pp. XXI, ff.). Small, Maynard, New York. 

“The Atlantic”: 117 (’16): 487; 118 (’16): 430. 

“The New Republic”: 3 (’15) : 75; 154, 204; 5: 178. 

“Rivers to the Sea”: S. Teasdale, the Macmillan Co., 
New York. 

“Love Songs”: S. Teasdale, the Macmillan Co., New 
York. 


Lesson VII 

A. Topics. 

1. What does the contemporary poet think of his art? 

2. Themes in the New Poetry: Religion. 

3. a. The Modern Painter’s Conception of Christ. 

b. The Modern Poet’s Conception of God and of 
Christ. 

B. References. 

1. A Study of the Prefaces of John Gould Fletcher, F. S. 
Flint, Louis Untermeyer, and Amy Lowell —The 
Dial , January, 1921. 

2 and 3. “New Voices”: M. Wilkinson, the Macmillan 
Co., New York. 


Lesson VIII 

A. Topics. 

1. Themes in Contemporary Poetry: Nature. 

2. Gardens and Flowers. 

3. The Sea, particularly in Masefield’s Poems. 

4. Man and Nature. 

B. References. 

1. “New Voices”: M. Wilkinson, the Macmillan Co., 
New York. 


36 


College oe Industrial Arts 


2. “The Melody of Earth/’ an Anthology of Garden and 

Nature Poems: Mrs. W. Richards, Houghton-Mifflin 
Co., Boston. 

“High Tide/’ Songs of Joy and Vision, from Present- 
day Poets: Mrs. W. Richards, Houghton- M i fflin Co., 
Boston. 

3. “Dauber”: J. Masefield, the Macmillan Co., New York. 
“Salt Water Ballads”: J. Masefield, the Macmillan 

Co., New York. 

4. “New Voices”: M. Wilkinson, the Macmillan Co., New 

York. 

“High Tide”: Mrs. W. Richards, Houghton-Mifflin Co., 
Boston. 

“Collected Poems”: W. H. Davies, Knopf, New York. 
“Wild Earth and Other Poems”: Padraic Colum, 
Maunsel & Co., Dublin. 


A. 


Lesson IX 

Topics. 

1. American Poets and Local Color. 

2. The Chicago Poets. 

3. Robert Erost and New England. 

4. Edgar Lee Masters and “The Spoon River Anthology.” 


B. References. 

1. “New Voices”: M. Wilkinson, the Macmillan Co., New 

York. 

2. “Chicago Poets”: Puller in The Literary Review, 

December 10, 1921, Vol. 2, No. 14; “The Rebirth of 
American Poetry” (Larband) in The Living Age, 
December 3, 1921. 

3. “Modern Tendencies in American Poetry”: A. Lowell, 
the Macmillan Co., New York. 

“The Spoon River Anthology”: Edgar Lee Masters, 
the Macmillan Co., New York. 


4. 


Suggestions eob Women’s Clubs 


37 


A. 


Lesson X 

Topics. 

1. Themes of the New Poetry: Childhood. 

2. Walter de la Mare and “Peacock Pie.” 

3. Hilda Conkling, a Child Poet. 


B. References. 

1. “New Voices”: M. Wilkinson, the Macmillan Co., New 

York. 

2. “Peacock Pie”: Walter de la Mare, Henry Holt & Co., 

New York. 

“The Advance of English Poetry in the Twentieth 
Century”: W. L. Phelps, Dodd, Mead & Co., New 
York. 

3. “Poems by a Little Girl”: Hilda Conkling, Frederick 

A. Stokes, New York. Keviewed in The Dial, 69: 
186, August, 1920. 


SUPPLEMENTARY LESSON 


A. 


The Irish Poets 


Topics. 

1. A. E. and his connection with the Young Irish poets, 

especially Yeats and Stephens. 

2. William Butler Yeats. 

a. His treatment of Old Irish Subjects. 

b. Lyrics Growing out of His Personal Experiences. 

3. A Comparison of Francis Ledwidge and Robert Burns. 

4. James Stephens, a Poet of Incongruities. 


B. References. 

1, 3 and 4. “Ireland’s Literary Renaissance”: Ernest A. 
Boyd, Lane, New York. “The Celtic Renaissance 
in Irish Plays and Playwrights”: Weygandt, Hough- 
ton-Mifflin Co., Boston. 

“The New Republic”: 15 (’18) : 172. 

The Dial: 66 (’19): 31. 

The Dial: 71 (’21) : 464. 


38 


College of Industrial Arts 


2. “Responsibilities”: W. B. Yeats, the Macmillan Co., 
New York. 

Reviews in The Independent: 77 (’14) : 271; The New 
Republic: 13 (M7) : 100. 

“Irish Plays and Playwrights”: Weygandt, Houghton- 
Mifflin Co., Boston. 

“Poems”: Yeats, the Macmillan Co., New York. 

VALUABLE ANTHOLOGIES FOR REFERENCE 

1. “Modern British Poetry”: Lonis Untermeyer, Harcourt, 
Brace & Co., New York (Biographical notes and criticisms). 

2. “Modern American Poetry”: Louis TJntermeyer, Harcourt, 
Brace & Co., New York (Biographical notes and criticisms). 

3. “The New Poetry”: Harriet Monroe, the Macmillan Co., 
New York. 

4. “Selections from Modern Poets”: J. C. Squire, Imported 
by Chas. H. Daniels, 41 W. Fifty-fifth Street, New' York. 

5. “A Book of Modern Verse”: Jessie B. Rittenhouse, Hough- 
ton-Mifflin Co., Boston. 

6. “A Second Book of Modern Verse”: Jessie B. Rittenhouse, 
Houghton-Miffiin Co.. Boston. 

7. “Anthology of Irish Verse”: Padriac Colum, Boni and 
Liveright, New York. 


Suggestions fob Women’s Clubs 


39 


MODERN DRAMA 
Lila St. Clair McMahon 
foreword 

If any club intends to study modern drama seriously, it is 
necessary for the members to have copies of the plays. Dickin¬ 
son’s "Chief Contemporary Dramatists” is recommended since it 
contains all the plays suggested for reading and study except those 
by Barrie and by Shaw. It will be very helpful to have some 
books on the drama and on the dramatists. If the club cannot 
purchase all the hooks listed, it should buy those starred. Those 
clubs having access to a public library will find interesting and 
valuable articles on the drama and dramatists in the periodicals 
of recent years. 

In the study of individual plays the following questions will 
perhaps be helpful: 

1. What is the theme of the play? 

2. What kind of play is it? 

3. Which is the most important—character, plot, or dialogue ? 

4. Is it a play of social criticism? 

5. Is there any satire in the play? 

6. Is the character conflict external or internal or both? 

7. Is the play a comedy or a tragedy? 

8. Why do you think the author wrote the play? 

9. Does the play deal with present conditions? 

10. If it is a problem play, does the dramatist merely state 
the problem or does he solve it? 

MODERN DRAMA 
Lesson I 

1. Roll Call: American Playwrights. 

2. Characteristics of Modem Drama. 

3. The Modern Stage. 

4. Themes and Stories on the Stage. 


40 


College of Industkial Arts 


References: 

1. Clayton Hamilton: “Studios in Stagecraft”; Chapters 1 
and 6; 3, 4, and 5; 13. 

Lesson II 

1. Eoll Call: Arthur Wing Pinero. 

2. “The Second Mrs. Tanqueray.” 

3. The Problem of the Wayward Woman. 

References: 

1. Chandler's “Aspects of Modern Drama”; Chapter 6. 
Lesson III 

1. Eoll Call: Current Industrial Problems. 

2. John Galsworthy's Life and Works. 

3. “Strife.” 

4. Are the Characters Types or Individuals? 

References: 

1. Williams: “Modern English Writers”; Part III, Chapter 
II, pages 253-258. 


Lesson IY 

1. Eoll Call: Satire in “The Madras House.” 

2. Family Studies in Modem Drama. 

3. “The Madras House.” 

4. The Various Attitudes in the Play towards Woman. 
References: 

1. Chandler: “Aspects of Modern Drama”; Chapter 10. 
Lesson Y 

1. Eoll Call: Eeflections of New England in “The Scarecrow.” 

2. “The Scarecrow” and Hawthorne’s “Feathertop.” 

3. Discussion: The Theme and the Interpretation of the Play. 


Suggestions eoe Women’s Clubs 


41 


Lesson VI 

1. Boll Call: Plays of Barrie. 

2. Life and Works of Janies M. Barrie. 

3. “Quality Street.” 

Lesson VII 

1. Boll Call: Epigrams from “Yon Never Can Tell.” 

2. Shaw’s Life and Works. 

3. Shaw’s Satire on English Manners and Morals. 

4. “Yon Never Can Tell.” 

Lesson VIII 

1. Boll Call: Interesting Pacts about William Vaughn Moody. 

2. Symbolism in the Drama. 

3. “The Great Divide.” 

4. The Symbolism of “The Great Divide.” 

References: 

1. Chandler: “Aspects of Modern Drama,” Chapter 4. 
Lesson IX 

1. Boll Call: Irish Writers. 

2. The Literary Bevival in Ireland. 

3. Plays of Mysticism and Folk History. 

4. Irish Plays of the Peasantry. 

References: 

1. Chandler: “Aspects of Modern Drama,” Chapters 11 and 12. 

2. Hamilton: “Studies in Stagecraft,” Chapter 11. 

3. Williams: “Modern English Writers.” Part II, Chapters 

1, 4, and 5. 

Lesson X 

1. Boll Call: Facts about Lady Gregory, Yeats, or Synge. 

2. “The Bising of the Moon.” 

3. “Biders to the Sea.” 

4. “The Hour Glass.” 


42 


College of Industrial Arts 


A BRIEF SUGGESTIVE BIBLIOGRAPHY 

I. The Plays. 

♦Dickinson, T. H.: “Chief Contemporary Dramatists, 
First Series, Houghton-Mifflin Co., Boston. 

♦Barrie, J. M.: “Quality Street,” Scribner’s Sons, New 
York. 

♦Shaw, Bernard: “Plays Pleasant and Unpleasant,” Yol. 
I, Brentano’s, New York. 

II. Books on the Drama and Playwrights. 

♦Baker, G. P.: “Dramatic Technique,” Houghton-Mifflin 
Co., Boston. 

♦Chandler, F. W.: “Aspects of Modern Drama” (An in¬ 
dispensable book. Helpful discussion on the drama and 
the writers. An excellent bibliography), the Macmillan 
Co., New York. 

♦Dickinson, T. H.: “The Contemporary Drama of Eng¬ 
land,” Little, Brown & Co., Boston. 

Hale, E. E.: “Dramatists of Today,” Henry Holt & Co., 
New York. 

Hamilton, Clayton: “Studies in Stagecraft,” Henry Holt 
& Co., New York. 

Henderson, Archibald: “European Dramatists,” Stewart 
& Kidd Co., Cincinnati, Ohio. 

Manly and Bickert: “Contemporary British Literature: 
Bibliographies and Study Outlines,” Harcourt, Brace 
& Co., New York. 

Weygandt, Cornelius: “Irish Plays and Playwrights,” 
Houghton-Mifflin Co., Boston. 

Williams, Harold: “Modem English Writers,” Alfred A. 
Knopf, New York. 


Suggestions foe Women’s Clubs 


43 


SHAKESPEARE’S COMEDIES 
Lila St. Claie McMahon 
Lesson I 

1. Roll Call: Shakespeare Traditions. 

2. The London of Shakespeare’s Time. 

3. Shakespeare’s Theatre. 

4. The Life of Shakespeare. 

5. The Pour Periods of Shakespeare’s Dramatic Work. 
References: 

1. “Shakespeare, A Critical Study of his Mind and Art,” 

Edward Dowden. 

2. “Shakespeare’s Theatre,” A. H. Thorndike. 

3. “Shakespeare as a Playwright,” Brander Matthews. 

4. “A Study of Shakespeare,” H. T. Stephenson. 

Lesson II 

A Midshmmer Night’s Dream 

1. Roll Call: Quotations from the Play. 

2. The Nature of the Play and its Theme. 

3. The Various Stories and their Relation. 

4. The Connection between the Affairs of Oberon’s Court and 

those of the Human Characters. 

5. The Setting of the Play. 

6. The Fairies—Their Nature and their Functions. 

7. Music—A Song from the Play. 

Lesson III 

A Midsummer Night’s Dream 

1. Roll Call: Festival Days in England. 

2. May Day, Valentine, and Midsummer-Eve Celebrations in 

Shakespeare’s Time. 

3. Evidence that the Play was Written for a Special Occasion. 

4. The Character and Functions of Puck. 


44 


College of Industrial Arts 


5. Bottom—Shakespeare’s First Humorous Character. 

6. A Comparison of Hermia ahd Helena. 

7. A Discussion of the Delight and Charm of the Play. 

References: 

Dyer, T. F. T.: “Folklore of Shakespeare.” 

Keightly, T.: “Fairy Mythology.” 

Lesson IV 

The Merchant of Venice 

1. Poll Call: Epigrams from the Play. 

2. The Different Stories and their Belation. 

3. The Name of the Play. (Is it well chosen?) 

4. A Comparison of Portia’s Wooers. 

5. A Character Sketch of Antonio. 

6. A Character Sketch of Shylock. 

7. A Character Sketch of Portia. 

Lesson V 

The Merchant of Venice 

1. Poll Call: Humor in the Play. 

2. A Visualization of the Trial Scene. 

3. The Popularity of IV, 1, 184-205. 

4. The Hses of Disguise in the Play. 

5. Shakespeare’s Hse of Prose and Verse (Consult “Introduction 

to Shakespeare,” by Corson, pp. 83-90). 

6. The Beauty and Charm of Act V. 

Lesson VI 
As You Like It 

1. Boll Call: Quotations from the Play. 

2. The Stories and the Groups of Characters. 

3. The Improbability and the Impossibility of Some Parts of 
the Play. 

The Setting of the Play. 


4. 


Suggestions eor Women’s Clubs 


45 


5. The Steps by which the Transition is Made from the Outer 

World of Eeality to the World of Dreams. 

6. The Importance' of II, 1, for the Play. 

7. The Different Kinds of Humor (Touchstone’s, Jacque’s and 

Eosalind’s). , 

Lesson VII 

As You Like It 

1. Eoll Call: Love at First Sight. 

2. The Songs and their Fitness for the Situations. 

3. The Conversions of Duke Frederick and Oliver. (Are they 

in harmony with the general tone of the comedy and its 
title?) 

4. A Character Sketch of Jacques. 

5. An explanation of the Popularity of II, 7, 139-166. 

6. The Function of Y, 3. 

7. “As You Like It” is one of the most perennially fresh and 

pleasing plays in the world. Discuss. 

8. Music—A Song from the Play. 

Lesson VIII 
Much, Ado About Nothing 

1. Eoll Call: Impressions of the Play. 

2. The Stories and their Eelation. 

3. The Tragical and Farcical Material in the Play. 

4. The Character Contrasts. 

5. Dogberry and His Associates—Their Functions. 

6. IY, 1, “is one of the most masterly and famous scenes in 

Shakespeare’s theatre.” Comment on this statement. 

7. Failure of this Play to Satisfy the Demand of the Spirit of 

Comedy as “Twelfth Night” and “As You Like It” Sat¬ 
isfy It. 

Lesson IX 
Twelfth Night 

1. Eoll Call: Humor in the Play. 

2. The Title of the Play. 


46 College oe Industrial Arts 

3. The Dramatic Purpose of/tjie Opening Lines. 

4. The Various Stories. 

5. Shakespeare’s Use of the Device of Mistaken Identity (Com¬ 

pare other plays read). 

■6. A Comparison of the two Waiting-Women, Maria and Nerissa 
(“As You Like It”). 

Lesson X 
Tivelfth Night 

1. Roll Call: References to Music in the Play. 

2. The Humor in the Play. 

3. The Function and Dramatic Nature of the Clown in Shake¬ 

spearean Comedy. (Compare other comedies read). 

4. A Study of Malvolio. 

5. The Songs and their Part in Producing the Total Effect of 

the Comedy. 

6. *The Charm of the Play. 

Lesson XI 
The Tempest 

1. Roll Call: Impressions of the Play. 

2. The Story of the Play. 

3. The Setting. 

4. The Spectacular Elements of the Play. 

5. A Comparison of Ariel and Puck. 

6. 'fhe Supernatural Element in “A Midsummer Night’s Dream” 

and in “The Tempest.” 

Lesson XII 
The Tempest 

1. Roll Call: Shakespeare’s Comedy Heroines. 

2. The Use of Music in the Play. 

3. The Symbolism of the Play. 

4. A Study of Caliban. 

5. A Study of Prospero. (Is Prospero Shakespeare?) 


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6. The Function of the Masque in IV, 1. 

7. Shakespeare’s Philosophy as Found in “The Tempest.” (Was 

he a man with a message ?) 

8. Music—Ariel’s Song—“Where the bee sucks, there suck I.” 

Bibliography 

1. Baker, G. P.: “The Development of Shakespeare as a 
Dramatist,” The Macmillan Co., New York. 

2. Corson, Hiram: “Introduction to Shakespeare,” D. C, 
Heath & Company, Boston. 

3. Dowden, Edward: “Shakespeare, A Critical Study of His 
Mind and Art,” Harper & Brothers, New York. 

4. Dyer, T. F. T.: “Folklore of Shakespeare,” Harper & 
Brothers, New York. 

5. Hudson, H. N.: “The New Hudson Shakespeare” (Recom¬ 
mended edition for study of individual plays. Good introductions 
and notes), Ginn & Company, Dallas. 

6. Jameson, Anna: “Shakespeare’s Heroines,” A. L. Burt 
Company, New York. 

7. Keightly, T.: “Fairy Mythology,” The Macmillan Com¬ 
pany, New York. 

8. Matthews, Brander: “Shakespeare as a Playwright,” 
Charles Scribner’s Sons, New York. 

9. Moulton, R. G.: “Shakespeare as a Dramatic Artist,” Ox¬ 
ford, at the Clarendon Press (American address, 29 West 32d 
Street, New York). 

10. Stephenson, H. T.: “A Study of Shakespeare,” Henry 
Holt & Company, New York. 

11. Thorndike, A. H.: “Shakespeare’s Theatre,” The Macmil¬ 
lan Company, New York. 


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SHAKESPEARE’S HAMLET, JULIUS C^SAR, AND THE 
TEMPEST 

(Note: The New Hudson Shakespeare edition of the indi¬ 
vidual plays is recommended. It is published by Ginn & Com¬ 
pany, Dallas.) 

HAMLET 

Lila St. Clair McMahon 
Lesson I. Act I 

1. Discuss the opening of the play—11. 1-69. 

2. Comment upon the character of Claudius as it is revealed 

in Scene 2, 11. 1-50. 

3. Explain as fully as possible the reasons for Hamlet’s mood 

in Scene 2. 

4. Characterize Hamlet’s replies to the King and Queen in 

Scene 2. 

5. Comment closely upon the character indicated in Scene 2, 11. 

10-44, and upon that revealed in 11. 55-81. 

6. In light of the speeches of Ophelia and of her domestic 

environment and of the influences of heredity, estimate her 
character. 

7. Visualize and describe the action in Scene 4, 11. 39-85. 

8. State the three injunctions laid upon Hamlet by the Ghost. 

9. What bearing have 11. 169 if (Scene 5) upon later events and 

your interpretation of them? 

10. State concisely what Shakespeare has accomplished in Act I. 
Lesson II. Act II 

1. Explain the actions of Hamlet which Ophelia reports in 

Scene 1. 

2. Comment upon the effect of Hamlet’s actions upon Ophelia 

and upon Polonius. 

3. Is it perfectly clear and beyond question that Hamlet is only 

pretending madness in Scene 2 ? 


Suggestions eoe Women’s Clubs 


49 


4. How many of the persons of the drama are completely taken 

in by Hamlet’s counterfeit madness ? 

5. What privileges and licenses very dear to him does Hamlet 

secure for himself by his simulated madness? 

6. What indications do you find in Scene 2, 11. 120-223 that 

Hamlet knows of Polonius’s plot against him? How could 
he have learned of it? 

7. Find instances of delightful raillery in Hamlet’s words to 

Polonius. Find dramatic irony in Polonius’s replies. 

8. Explain Hamlet’s delight in the game he is playing. 

9. Find the reasons Hamlet gives for employing the device of 

the play in testing the king. 

10. What does Hamlet reveal in his soliloquy at the end of Act 2 ? 
Lesson III. Act III 

1. What plan does the King devise to ascertain whether or not 

the cause of Hamlet’s conduct is love for Ophelia ? 

2. What are Hamlet’s arguments for and against suicide voiced 

in his soliloquy in Scene I, 11. 56-88 ? 

3. What lines in this soliloquy reveal the essence of Hamlet’s 

character and of the play? 

4. What are some of the principal functions of this soliloquy? 

5. Why does Hamlet assume madness in his interview with 

Ophelia and speak to her so harshly? 

6. What is the plot of the play presented before the King and 

the Queen? 

7. What is the effect of the play on the King? On Hamlet? 

8. Estimate carefully the character and present mood of the 

speaker in Scene III, 11. 36-72. 

9. What are Hamlet’s reasons for not killing the King when 

he finds him alone praying ? 

10. Comment upon the supreme fitness and justice of the manner 

of Polonius’s death. 

11. What message does the Ghost bring to Hamlet? 

12. Why does not the Queen see or hear the ghost of her former 

husband ? 


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College of Industrial Arts 


Lesson IV. Act IV 

1. In Scene I does the Qneen do as Hamlet asks her to do in 

III, 4, 181 ff? 

2. What are now the purposes of the King regarding Hamlet? 

3. Why is it important that we should he aware of the contrast 

between Fortinbras and Hamlet? 

4. What does Hamlet say should be the guiding principle of 

man’s life? (See IV, 4, 53-56.) 

5. Comment fully upon 11 17-20, Scene 5. 

6. Try to thread the maze of thoughts and emotions vaguely 

implicated in Ophelia’s songs and speeches. 

7. Prove that Shakespeare’s problem was to make Ophelia fit to 

attract Hamlet, yet too weak to hold him. 

8. Comment upon the manner of Laertes in Scene 5. 

9. Is there anything strange in the story Hamlet writes of the 

meeting with the pirate ship? 

10. Outline the method by which the King wins Laertes to his 

purpose. 

11. What elements of beauty do you find in the report of Ophelia’s 

death ? 

12. Has Shakespeare in Act IV made every preparation for the 

conclusion of the drama? 

Lesson V. Act V. 

1. What is the function of the clowns in Scene I? 

2. What is the purpose of 11. 1-62, Scene II? 

3. Was Hamlet sincere and truthful in stating he loved Ophelia ? 

4. Discuss the sincerity of 11. 237-255, Scene II. (Compare 11. 

215-216.) 

5. What hereditary trait does Laertes show? 

6. Is the King’s punishment adequate? 

7. Does Shakespeare manifest fine technique in making the 

Queen unintentionally commit suicide ? If so, how ? 

8. What final request does Hamlet make of Horatio ? 

9. In what ways is Fortinbras really a better man for the throne 

than Hamlet? 

10. Comment upon the solemn grandeur of the closing tableau. 


Suggestions for Women’s Clubs 


51 


Lesson YI 

Roll Call: Quotations from Hamlet. 

1. Was Hamlet Insane or Was He Pretending Insanity? (The 

discussion should include proof from the play.) 

2. Discussion of The Mouse-trap. 

3. Character Contrasts in Hamlet. 

4. The Fortinbras Thread of the Play. 

5. The Character of Hamlet. 

References: 

Hudson, H. H.: “The Hew Hudson Shakespeare: Hamlet.” 
Matthews, Brander: “Shakespeare as a Playwright.” 
Stephenson, H. T.: “A Study of Shakespeare.” 


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College oe Industrial Arts 


JULIUS CiESAR 
Lila St. Clair McMahon 
Lesson I 

1. Roll Call: Quotations from the play. 

2. Is the title the most fitting for the play? 

3. Is the poet occupied with the outer world of action or with 

the inner world of thoughts and feeling ? 

4. What important character contrasts are presented? 

5. Discuss fully the treatment of the plebeians. 

6. Give the story briefly. 

Lesson II 

1. Roll Call: The characters of the play. 

2. What exposition is there in Act I, Scene 1 ? 

3. What is the dramatic effect of the soothsayer’s words in Act 

I, Sc. 2? 

4. Comment upon the masterly touches of characterization in 

Act I, Scene 2, 11. 180-188. 

5. Compare and contrast Brutus, Cassius, and Caesar, as shown 

in Act I, Sc. 2. 

6. Comment on the soliloquy of Brutus, Act II, Sc. 1, 11. 10-34. 

Lesson III 

1. Roll Call: Another history play by Shakespeare. 

2. Compare Caesar’s and Brutus’s treatment of their wives. 

3. Compare Brutus and Cassius as revealed by their attitude 

toward Anthony. 

4. Comment upon the speeches of Brutus and Anthony in Act 

III, Sc. 2. 

5. Comment on the Quarrel Scene, Act IY, Scene 3. 

Lesson IY 

1. Roll Call: Impressions of the play. 

2. What is the ghost of Caesar intended to symbolize? 


Suggestions foe Women’s Clubs 


53 


3. How do Scenes 1-4, Act V, modify your feelings toward 

Bratus ? 

4. Discuss most carefully the character of Brutus. 

5. Make a careful estimate of Caesar’s character. 

6. Does the conclusion of the play seem most satisfactory in all 

respects ? 

THE TEMPEST 
Jessie McElkath 
Lesson I. Act I 
Prosperous Purpose 

I. Setting. 

A. How presented. 

B. Reasons for the author’s opening the play with a 

storm. 

II. Characters. 

A. For Prospero. 

1. Gonzalo. 

2. Miranda. 

3. Ferdinand. 

4. Ariel. 

B. Against Prospero. 

1. Alonso. 

2. Sebastian. 

3. Antonio. 

4. Caliban, joined later by Trinculo and Ste- 

phano. 

III. Summary of the Act. 

A. The Story. 

B. Details which give Antecedent Material: 

1. Prospero’s Relation of their Story to Miranda. 

2. Prospero’s Relation of Ariel’s Story. 


College of Industrial Arts 


Lesson II. Act II 
Prosperous Plan 

Additional Light as to Character and Situation in Scene 1. 

A. Of Gonzalo. 

B. Of the Members of the Group against Prospero. 

Plot against Alonso. 

A. The Plan of Sebastian and Antonio. 

B. Prevention of the Success of the Plan. 

1 . How? 

2. Why? 

Act III 

Prospero’s Peril 

Summary of the Act. 

A. Love of Ferdinand and Miranda. 

B. Plot against Prospero. 

C. Prospero’s Invitation to Alonso, Antonio, and Sebas¬ 

tian to Attend a Magic Banquet (the climax). 

D. Ariel’s Warning. 

Lesson III. Act IY 

A Summary, including Discussions of 

A. Dramatic Purpose of the Masque. 

B. The Element of Comedy in the Act. 

Act Y 

Prospero’s Pardon 

A Summary, including Discussions of 

A. The Distinction Made in Prospero’s Pardons in 

Scene 1 . 

B. The Bepentant and Unrepentant Characters. 


Suggestions for Women’s Clubs 


55 


Lesson IV 


I. Sources of the Plot. 

II. Allegorical Significance of the Plot. 

III. The Use of the Supernatural. 

Lesson V 

I. A Character Sketch of Prospero. 

II. A Sketch of Gonzalo. 

III. Miranda (a woman reared away from the world). 

IV. Ferdinand. 

Lesson VI 

I. Ariel: His Powers and Function in the Play. 

II. Sketches of the Low Villains. 

III. Sketches of the Noble Villains. 


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College oe Industrial Arts 


THE IKISH LITERARY REVIVAL 
D. W. Hendrickson 
Lesson I 


A. 


Historical 

Topics. 

1. The Beginning of the Celtic Renaissance. 

2. The Gaelic League. 

3. Folk-History. 


B. References. 

1. “Modern English Writers,” Williams, Alfred A. Knopf, 

Hew York. 

2. “Irish Plays and Playwrights,” Weygandt, Houghton- 

Mifflin Co., Boston. 

3. “The Glories of Ireland,” Phoenix, Washington, D. C. 


Lesson II 


Difficulties and Successes 

A. Topics. 

1. Finding a Suitable Theatre and Financing the Move¬ 

ment. 

2. Opposition to Some of the Plays. 

3. Present Attitude toward the Plays. 


B. References. 

“Our Irish Theatre,” Lady Gregory, Putnam, Hew York. 


Lesson III 


A. 


Irish Poetesses 


Topics. 

1. The Love of Ireland as Found in the Poetry of Moira 

O’Heill. 

2. Mysticism as Found in the Poetry of Eva Gore Booth. 

3. Minor Poets: a. Hora Hopper; b. Katherine Tynan; 

c. Dora Sigerson Shorter. 


Suggestions for Women’s Clubs 


57 


B. Reference. 

“Modern English Writers/’ Williams, Knopf, N. Y. 

C. Suggested Readings. 

1. “Songs of the Glens of Antrim,” Macmillan, New York. 

2. “The Sorrowful Princess,” “The One and the Many,” 

“Unseen Kings,” “The Triumph of Maeve,” “The 
Three Resurrections,” Longmans, Green & Co., New 
York. 

3. a. “Under Quicken Boughs,” John Lane Co., 116-120 

W. 32d Street, N. Y.; b. “New Poems” (1911), 
Sidgwick & Jackson, 3 Adam Street, London; c. 
“Collected Poems,” Harper Brothers, New York. 

Lesson IV 

Minor Dramatists: Padriac Colum, Lennox Robinson, William 
Boyle, T. C. Murray, Rutherford Mayne. 

A. Topics. 

1. The Plays of Colum (East and Middle Ireland). 

2. The Plays of Robinson (South Ireland). 

3. The Plays of Boyle (East and Middle Ireland). 

4. The Plays of Murray (South Ireland). 

5. The Plays of Mayne (North Ireland). 

B. Suggested Readings. 

1. “The Land,” “Thomas Muskerry,” and “The Fiddler’s 

House,” Little, Brown & Company, Boston. 

2. “The Cross Roads” and “Patriots,” J. W. Luce & Co., 

143 Federal Street, Boston. 

3. “The Building Fund” and “The Eloquent Dempsey,” 

M. H. Gill & Son, London. 

4. “Birthright” and “Maurice Harte,” Maunsel & Co., 40 

Museum Street, London. 

5. “The Drone” and other plays, Maunsel & Co. 

C. References. 

“Modern English Writers,” Williams, Knopf, N. Y. 

“Irish Plays and Playwrights,” Weygandt, Houghton- 
Mifflin & Co., Boston. 


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College op Industrial Arts 


Lesson V 

George Bussell (A. E.) and Edward Martyn 

A. Topics. 

1. The Mysticism of A. E. 

2. The Varied Interests of A. E. 

3. The Poems and Plays of A. E. 

4. The Plays of Edward Martyn. 

B. Suggested Beadings. 

For 1 and 2 : “Modern English Writers/’ Williams, Knopf, 
New York. 

“Irish Plays and Playwrights,” Weygandt, Hough- 
ton-Mifflin & Co. 

“Some Impressions of My Elders,” Ervine, North 
American Beview, August, 1920. 

3. “Collected Poems,” The Macmillan Co., N. Y. 

“Deirdre.” 

4. “The Heather Field.” 

C. Beferences. 

For 1, 2, 3, and 4: “Modern English Writers,” Williams, 
Knopf, N. Y. 

“Irish Plays and Playwrights,” Weygandt, Hough- 
ton-Miffiin & Co., Boston. 

For 1, 2, and 3 : “Some Impressions of My Elders,” Ervine, 
North American Beview, August, 1920. 

Lesson VI 

St. John Ervine, William Sharp, and Lord Dunsany. 

A. Topics. 

1. The Bealism of Ervine. 

2. The Plays of Sharp. 

3. The Plays of Dunsany. 

B. Suggested Beadings. 

1. “Jane Clegg.” 

“John Ferguson.” 

Works published by G. Allen & Unwin, London. 


Suggestions eor Women’s Clubs 


59 


2. “Vistas.” 

“The House of Usna,” Published by Thos. B. Mosher, 
45 Exchange Street, Portland, Me. 

3. “Five Plays” (one Vol.), Little, Brown & Co., Boston. 
“Plays of Gods and Men,” John W. Luce & Co., Boston. 

C. Reference. 

“Modern English Writers,” Williams, Knopf, N. Y. 
Lesson VII 

Douglas Hyde and George Moore 

A. Topics. 

1. The Work of Dr. Hyde. 

a. Creative Work in Gaelic. 

b. Translations. 

2. The Contribution of Moore. 

B. Suggested Readings. 

1. “The Twisting of the Rope,” R. R. Badger, 199-203 

Boylston Street, Boston. 

“Love Songs of Connacht.” 

“Religious Songs of Connacht.” 

2. “The Bending of the Bough,” Duffield & Co., New 

York. 

“Diarmid and Grania.” 

C. References. 

“Modern English Writers,” Williams, Knopf, N. Y. 

“Irish Plays and Playwrights,” Weygandt, Houghton- 
Mifflin & Co., Boston. 

“The Most Popular Man in Ireland,” Current Literature, 
February, 1906. 

Lesson VIII 
William Butler Yeats 

A. Topics. 

1. Poetry of Yeats. 

2. Plays in Poetry. 

3. Plays in Prose. 


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College of Industrial Arts 


B. Suggested Readings. 

1. Poetry. Works published by Macmillan, N. Y. 

2. “The Wind Among the Reeds.” 

“The Wanderings of Oisin.” 

“The Countess Cathleen.” 

“The Land of Heart’s Desire.” 

3. “Cathleen ni Hoolihan.” 

“The Hour Glass.” 

“Where there is Nothing” (Rewritten with Lady 
Gregory as “The Unicorn from the Stars”). 

C. References. 

“Modern English Writers,” Williams, Knopf, N. Y. 

“Irish Plays and Playwrights,” Weygandt, Houghton, 
Mifflin & Co., Boston. 

“Some Imperssions of My Elders,” Ervine, North 
American Review, February, 1920, and March, 1920. 

Lesson IX 

Lady Augusta Gregory 

A. Topics. 

1. Folk-History Plays. 

2. Plays of the Peasantry. 

3. Lady Gregory as a Writer of Farce. 

B. Suggested Readings. 

1. “Gods and Fighting Men.” 

“Cuchulain of Muirthemne.” 

“Grania.” 

The Macmillan Co., New York or Dallas. 

2. Seven Short Plays (one Vol.), J. W. Luce & Co., 

Boston. 

New Irish Comedies (one Vol.), J. W. Luce & Co., 
Boston. 

C. References. 

“Modern English Writers,” Williams, Knopf, N. Y. 

“Irish Plays and Playwrights,” Weygandt, Houghton, 
Mifflin & Co., Boston. 


Suggestions foe Women’s Clubs 


61 


John Millington Synge 

A. Topics. 

1. How Synge Got His Material. 

2. The Plays of Synge. 

B. Suggested Readings. 

1. Introduction to "The Playboy of the Western World,” 

and "In the Aran Islands,” J. W. Luce & Co., Boston. 

2. "In the Shadow of the Glen.” 

"Riders to the Sea.” 

"The Well of the Saints.” 

"The Playboy of the Western World.” 

"The Tinker’s Wedding.” 

"Deirdre of the Sorrows.” 

C. References. 

"Modern English Writers,” Williams, Knopf, N. Y. 

"Irish Plays and Playwrights,” Weygandt, Houghton, 
Mifflin & Co., Boston. 

"Some Impressions of My Elders,” Ervine, North American 
Review, May, 1920. 

Books in General Bibliography on Synge. 

General Bibliography 

"Hail and Farewell,” George Moore, 2 Vols., D. Appleton & Co., 
29-35 W. 32d Street, New York. 

"Irish Plays and Playwrights,” C. Weygandt, Houghton, Mifflin 
& Company, 4 Park Street, Boston. 

"Irish Dramatists and Irish People,” Ervine, Forum, June, 1914. 
"Irish Dramatic Movement,” Yol. 4, collected works of W. B. 
Yeats, The Macmillan Co., 66 5th Avenue, New York. 

"Modern English Writers,” H. Williams, Alfred Knopf, 220 W. 
42nd Street, New York. 

"Our Irish Theatre,” Lady Augusta Gregory, G. P. Putnam, 2 
W. 45th Street, New York. 

"J. M. Synge and the Irish Dramatic Movement,” F. L. Bickley, 
Houghton, Mifflin & Co., Boston. 


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College oe Industrial Arts 


“John M. Synge and the Irish Theatre/’ M. Bourgeois, The 
Macmillan Co., New York. 

“J. M. Synge: A Critical Study,” P. P. Howe, Mitchell Ken- 
nerly, 489 Park Avenue, New York. 

“J. M. Synge,” John Masefield, Contemporary Review, April, 
1911. 

“J. M. Synge and the Ireland of His Time,” W. B. Yeats, The 
Macmillan Co., New York. 

“William Butler Yeats and the Irish Literary Revival,” H. S. 
Krans, Doubleday, Page & Co., Garden City, N. Y. 

Note: Any of the above books may be secured through G. E. 
Stechert & Co., 151-155 W. 25th Street, New York, N. Y. 


Suggestions eor Women's Clubs 


63 


THE SHORT STORY 
Jessie McEleath 

Lesson I 

Types of the Short Story 

I. Discussion of the story of action (in which the chief interest 
lies in plot). 

A. “The Man Who Would Be King”; in “The Phan- 

ton Rickshaw/' Kipling. 

B. “The Pavilion on the Links''; in “Hew Arabian 

Nights/' Stevenson. 

II. Discussion of “Tennessee's Partner” as a story of character 
(in which the author first conceived an interesting char¬ 
acter, and then invented the situation and incidents to 
reveal that character); in “The Luck of Roaring Camp,” 
Harte. 

III. Discussion of “Marse Chan” as a story of setting (in which 

the chief interest lies in the local and temporal setting); 
in “In Ole Virginia,” Thomas Kelson Page. 

IV. Discussion of the story of idea (in which the author pur¬ 

posed first of all to demonstrate the truth of some idea, 
philosophy of life, or moral thought that his experience 
and his observations had led him to believe). 

A. “The Passing of the Third Eloor Back,” Jerome 
K. Jerome. 

V. Discussion of the story of emotional effect (in which the 
author first conceived an emotional effect to he worked 
out, and chose accordingly the plot, characters, and set¬ 
ting to bring about the desired effect). 

A. “The Pit and the Pendulum” in “Prose Tales,” 
Poe. 

Note: The supplementary outline on plot, character, and 
setting might prove helpful in the preparation of discussions 
in each lesson. 


64 College op Industrial Arts 

Lesson II 

' The Tale: Washington Irving 

I. The Tale and the Short Story. 

II. Irving’s Literary Characteristics in “The Legend of Sleepy 
Hollow”; in “The Sketch Book.” 

(Comment on the author’s evident purpose in writing the 
tale; his attitude toward life and his fellow man; his char¬ 
acters; his romantic element; and his setting and style). 

III. Summary and brief discussion of “The Spectre Bridegroom”; 

in “The Sketch Book.” 

IV. Synopsis of “The Legend of the Bose of the Alhambra,” a 

Spanish Bomance; in “The Alhambra.” 

Lesson III 
Edgar Allan Poe 

I. Significant Facts about Poe’s Life. (Consult any American 
Literature test or biography of Poe). 

II. Poe’s Conception of the Structure and Technique of the 
Short Story. (See “The Art of the Short Story” by 
C. A. Grabo). 

III. Discussion of “The Fall of the House of Usher.” 

(Comment on the choice of words, the descriptions, the 
setting—in short, all the devices used for securing the de¬ 
sired effect); in “Prose Tales.” 

IV. “The Mystery of Marie Boget” (in which type of story Poe 

was the originator of the detective story); in “Prose 
Tales.” 

Lesson IV 

Nathaniel Hawthorne and Francis Bret Harte 
I. Significant Facts about Hawthorne’s Life. 

II. Brief Summary and Discussion of the Themes of: “The 
Ambitious Guest”; “The Great Stone Face”; “The 
Birthmark”; “The Snow Image”; in “Twice Told Tales” 
and “Mosses from an Old Manse,” Hawthorne. 


Suggestions foe Women’s Clubs 


65 


III. “Lady Eleanor’s Mantle” and “The Minister’s Black Veil”; 

in “Twice Told Tales/’ Hawthorne. 

A. As symbolical. 

B. As allegorical. 

C. As mysterious in plot, character, and setting. 

IV. “The Lnck of Boaring Camp” and “The Outcasts of Poker 

Flat”; in “The Luck of Boaring Camp,” Harte. 

A. As stories of setting. 

B. As stories of character. 

C. As stories of idea. 

Lesson V 

Robert Louis Stevenson 

I. “The Sire de Maletroit’s Door”; in “Hew Arabian Nights.” 

A. As a story of action. 

B. As a romance. (Comment on the setting, situation, 

characters, and plot as elements of a good romance). 

II. Summary of “The Young Man with the Cream Tarts” in 
“Hew Arabian Nights.” 

III. “Markheim”; in “The Merry Men and Other Tales.” 

A. As a story of idea: compare with “Dr. Jekyll and 

Mr. Hyde.” 

B. As a story of character and of psychological analysis. 

C. As to artistic workmanship in: (1) the direct open¬ 

ing of the story; (2) the sudden and effective 
close; (3) the vivid portrayal of the thoughts of 
Markheim; (4) the accuracy and suggestive 
power of the style. 

Lesson VI 
Rudyard Kipling 

I. Interesting Facts about Kipling’s Life. 

II. “Lispeth” and “Without Benefit of Clergy”; in “Stories of 
Indian Life” (Characteristics to he noted: journalistic 


66 


College op Industeial Aets 


style; a keen desire to interest; a focusing on the climax; 
marvelous ability in giving local color; striking and in¬ 
teresting characters; vitality; variety; portrayal of the 
common people). 

III. "The Brushwood Boy”: a fantastic story. 

IV. "They”: a supernatural story. 

Lesson VII 

Guy de Maupassant and Bjomstjeme Bjornson 

I. "The Necklace”: discussion of plot, characters, and setting. 

II. "The Piece of String”; in "The Odd Number,” Maupassant. 
(Some literary characteristics of Maupassant: (1) unex¬ 
celled descriptions; (2) an impassive record of life as he 
sees it; (3) greater attention given to the actions of the 
characters than to their thoughts and feeling; (4) love of 
life in spite of its lack of solutions; (5) keen observations, 
but a lack of the glow that comes with a sympathetic and 
spiritual outlook on life; (6) selfishness and hypocrisy as 
favorite subjects. 

III. A discussion of "The Father”; in "A Collection of Short 
Stories,” edited by L. A. Pittinger. (Note the skillful 
character delineation and the compression.) 

Lesson VIII 

0. Henry {William Sidney Porter ) 

Some Favorite Themes 

I. Mam's Pretending to Be What He Is Not: "The Caliph”; 
"Cupid and the Clock”; "Lost on Dress Parade”; "While 
the Auto Waits.” 

II. Man’s Love of Adventure: "The Green Door.” 

III. The Shop Girl: "An Unfinished Story.” 

IV. The City: "The Furnished Boom.” 

V. Begional stories: "The Municipal Eeport” and "The Bose 
of Dixie.” 


Suggestions por Women’s Clubs 


67 


Lesson IX 

Local Color Stories of Interesting Regions 

I. “Two Gentlemen of Kentucky”; in “Flute and Violin/’ 
James Lane Allen. 

II. “Van Bibber at the Races”; in “Van Bibber and Others/’ 
Richard Harding Davis. 

III. “Madame Delphine”; in “Old Creole Days/’ George W. 

Cable. 

IV. “A New England Nun”; in “A New England Nun/’ Mary 

E. Wilkins Freeman. 

Lesson X 
Character Sketches 

I. “Quite So”; in “Stories New and Old,” T. B. Aldrich. 

II. “Miss Tempy’s Watchers”; in “Tales of New England,” 
Sarah Orne Jewett. 

III. “The Pelican”; in “The Greater Inclination,” Edith Whar¬ 

ton. 

IV. “A Humorist on his Calling”; in “A Window in Thrums,” 

James M. Barrie. 

elements op the short story 
Plot 

I. Definition: the plot is the story minus conversation, de¬ 
scription, and characterization—it is merely what hap¬ 
pens in the story. 

II. Steps in the development of the plot. 

A. The inciting force, or the beginning of suspense. 

B. The climax, or the turning point, the place at which 

the fortunes of the hero turn definitely either 
from good to bad or from bad to good. 

C. The denouement, the place at which all suspense 

ends. 


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College oe Industrial Arts 


III. Parts of the story. 

A. Antecedent material, the action that comes before 

the inciting force. (Sometimes omitted.) 

B. The rising or falling action, as the case may be. 

1. The time during which things are favorable 

for the main character is called the rising 
action. 

2. The time during which things are unfavor¬ 

able for the main character is called the 
falling action. 

C. The corresponding falling or rising action. 

D. The aftermath, the action that follows the denoue¬ 

ment. (Sometimes omitted.) 

IV. Classification. 

A. As to probability. 

1. The plot may be realistic, or probable. 

2. The plot may be imaginary, or romantic and 

improbable or impossible. 

B. As to the precedence of rising or falling action. 

1. The story may begin with rising action; that 

is, incidents may occur favorably for the 
main character until the turning point is 
reached. Such a plot is spoken of as one 
of the tragic type. 

2. The story may begin with falling action; 

that is, the situation and events at first 
may be unfavorable for the main character; 
the turning point then brings about a happy 
ending. Such a plot is spoken of as one 
of the comic type. 

C. As to balance. 

1. If the turning point comes about midway be¬ 

tween the beginning and end of the story, 
the action is balanced. 

2. If the turning point comes near the first of 

the story, the action is retarded. 


Suggestions eoe Women’s Clubs 


69 


3. If the turning point comes just before the 
close of the story, the action is accelerated. 

D. As to complexity. 

1. When there is but one plot and when the in¬ 

terest lies in one group of characters, the 
plot is simple. 

2. When there are successive ups and downs or 

repeated turning points, the plot is said 
to he compound. 

3. When two or more distinct plots are inter¬ 

woven, the plot is said to be complex. 

4. When there are repeated turning points and 

two or more plots interwoven, the plot is 
said to he complex-compound. 

Y. Plot order. 

A. Chronological, in which events are related in order 

of time. 

B. Eeversed, in which events are related backwards. 

(Used often in detective stories.) 

C. Broken, in which the story runs partly forward, 

partly backward. 

VI. Plot interest. 

A. Suspense as to the future, or the outcome of a given 

situation. 

B. Suspense as to the past, or the cause of a given 

situation. 

C. Suspense as to the present, or as to a permanent 

moral or philosophical truth. (See story of idea.) 
I). An interweaving of suspense of each kind. 

VII. Points of view. 

A. The main characters. 

1. The story may he told from the point of view 
of the main character, related in his own 
words. 


College op Industrial Arts 


70 

B. A minor character. 

1. The stdry may be related by a minor char¬ 
acter, present when the important events 
happened. 

C. The author’s omniscience. 

VIII Plot handling. 

A. Suspense. 

B. Surprise. 

C. Satisfaction. 

IX. The unities. 

A. Of time. 

1. The short story as the relation of events cen¬ 
tering about a crisis in the life of an in¬ 
dividual should cover as short a time as is 
typical of human experience. 

B. Of action. 

1. Only those events directly related to the de¬ 
velopment of the plot should be included. 

Character 

I. Grouping. 

A. The main character (or sometimes characters). 

B. Minor characters. 

C. Background characters. 

II. Method of presentation. 

A. Direct—by description. 

B. Dramatic: 

1. The reader may come to know the characters 

by their actions and habits. 

2. The reader may form an opinion of the char¬ 

acters by being told of their dress. 

3. The reader may come to know something of 

the characters by the comments of others. 

4. The talk of a character may reveal much of 

himself to the reader. 

a. Purposes of dialogue: to reveal 
character and to further the action 
of the story. 


Suggestions foe Women’s Clubs 


71 


III. Truth to life of characters. 

IV. Appropriateness of the names of the characters. 

Setting 

I. The three-fold setting of every story. 

A. Place. 

1. When local setting is the dominant element 
in the story, the story is one of local color. 

B. Time. 

1. When the time or period in which the story 
happened is the dominant element, the 
story is an historical one. 

C. Social setting. 

1. When the dominant element is in a class or 
group or profession to which the characters 
belong, the story is one of social back¬ 
ground. 

II. Methods of presentation of setting. 

A. Direct description. 

B. Portrayal of distinctive characters; dialect; customs 

or distinctive social usages; and traditions or dis¬ 
tinctive inherited ideals. 

III. Appropriateness of the names of places. 


72 


College of Industrial Arts 


BIBLIOGRAPHY FOR THE SHORT STORY 
E. C. Brodie 

Collections and Specimens of Short Stories 

Aldrich, Thos. B.: “Marjorie Daw and Other Stories/’ Hough- 
ton-Mifflin Co., Boston. 

Allen, J. L.: “Flute and Violin and Other Kentucky Tales,” 
the Macmillan Co., New York. 

Ashmun, Margaret: “The Short Story,” Macmillan Co., New 
York. 

Atkinson, W. P.: “The Short Story” (with introduction), Allyn 
& Bacon, New York. 

Baker, E. K.: “Short Stories and Collections” (contemporary 
short stories), D. C. Heath, New York. 

Baldwin, C. S.: “American Short Stories,” Longmans, Green 
& Co., New York. 

Bierce, A.: “In the Midst of Life. Tales of Soldiers and 
Civilians,” G. P. Putnam’s Sons, New York. 

Bunner, H. C.: “Short Sixes” (five stories, introduction, biog¬ 
raphies and bibliography), C. Scribner’s Sons, New York. 

Cable, Geo.: “Cable Story Book,” Scribner’s Sons, New York. 

Canby, H. C.: “Book of the Short Story,” D. Appleton & Co., 
Boston. 

Canfield, D.: “Hillsboro People,” Henry Holt & Co., New York. 

Cody, Sherwin: “Short Stories: Art of Writing and Speaking, 
Story-telling and Journalism,” Funk, Wagnalls & Co., New York. 

Cody, Sherwin: “World’s Greatest Short Stories” (selected 
American and Foreign Literature), A. C. McClurg, Chicago. 

Dawson, W. J. and C. W.: “Great English Short Story Writers,” 
Harper & Bros., New York. 

Deland, Margaret: “Dr. Lavender’s People,” Grossett & Dun¬ 
lap, New York. 

Firkins, I. T. E.: “Index to Short Stories,” Wilson & Co., 
New York. 

Fuess, C. M.: “Selected Short Stories” (good introduction), 
Chas. E. Merrill Co., New York. 


Suggestions for Women’s Clubs 


73 


Freeman, Mrs. M. W.: “A Humble Romance and Other Stories,” 
Harper & Bros., New York. 

Freeman, Mrs. M. W.: “The New England Nun,” Harper & 
Bros., New York. 

Hannon, Ella: “Various Types of Short Stories,” Educational 
Publishing Co., New York. 

Hardy, Thomas: “Life’s Little Ironies,” Harper & Bros., New 
York. 

Harte, Bret: “Luck of Roaring Camp and Other Stories,” the 
Review of Reviews, New York. 

Harte, Nina: “Representative Short Stories,” Macmillan Co., 
New York. 

Hawthorne, Julian: “Library of World’s Best Mystery and 
Detective Stories,” the Review of Reviews, New York. 

Heydrick, B. A.: “Types of Short Stories” (good bibliography 
and notes), Scott, Foresman & Co., Chicago. 

Holt, Henry: “Specimens and Collections of Short Stories,” 
Henry Holt & Co., New York. 

King, Capt. Chas.: “An Initial Experience,” J. B. Lippincott, 
Philadelphia. 

Kipling, Rudyard: “Under the Deodars,” Doubleday, Page & 
Co., Garden City, N. Y. 

Leacock, S. B.: “Nonsense Novels,” John Lane Co., New York. 

Mabie, Hamilton W.: “Stories, New and Old” (good general 
introduction and introduction to each story), Macmillan Co., New 
York. 

Mabie, Hamilton W.: “Little Masterpieces of Fiction” (8 vols.) 
(introduction and excellent notes), Doubleday, Page & Co., Gar¬ 
den City, N. Y. 

Mason, A. E. W.: “Four Corners of the World,” Scribner’s 
Sons, New York. 

Masson, Thos. L.: “Short Stories from Life,” Doubleday, Page 
& Co., Garden City, N. Y. 

Matthews, Brander: “Stories by American Authors” (5 Vols.), 
Chas. Scribner’s Sons, New York. 

Neal, R. W.: “Today’s Short Stories Analyzed,” Oxford Uni¬ 
versity Press, American Branch, New York. 

O’Brien, E. J.: “Best Stories of 1915-21” (A selection of the 


74 


College oe Industrial Arts 


best magazine stories for each year, beginning with 1915), Small, 
Maynard & Co., Boston. 

Page, Thos. Nelson: “Page Story Book,” Scribner’s Sons, New 
York. 

Patten, Wm.: (1) “Short Story Classics—American,” 

(2) “Short Story Classics—Foreign,” 

(3) “International Short Stories,” 

P. F. Collier, New York. 

Patten, Wm.: “Great Short Stories” (Vol. 2, “Ghost Stories”), 
P. F. Collier, New York. 

Poe, E. A.: “Prose Tales,” Crowell, New York. 

Porter, Wm. S. (0. Henry) : “Works,” The Review of Reviews, 
New York. 

Reeves, A. E.: “Best Ghost Stories” (Introduction by Reeves), 
Boni and Liveright, New York. 

Schweikert, H. C.: “Russian Short Stories,” Scott, Foresman 
& Co., Chicago. 

Smith, C. Alphonso: “Short Stories Old and New” (Some 
American selections. Good introduction), Ginn & Co., New York. 

Stockton, F. R.: “The Lady or the Tiger ?” C. Scribner’s Sons, 
Nrw York. 

Stone, H. S. & Co.: “The Chap-Book, 2nd Series,” H. S. Stone 
& Co., Chicago. 

Thomas, C. S.: “Atlantic Narratives,” The Atlantic Monthly 
Press, Boston. 

Van Dyke, Henry: “The Blue Flower,” C. Scribner’s Sons, 
New York. 

Yan Dyke, Henry: “Story Book,” C. Scribner’s Sons, New 

York. 

Theory and Technique of the Short Story 

Albright, Evelyn M.: “The Short Story; Its Principles and 
Characteristics (Good: contains excellent classification of stories, 
with reading list). The Macmillan Company, New York. 

Baldwin, Chas. S.: “American Short Stories” (Rise and de¬ 
velopment of short story in America), Longmans, Green & Co., 
New York. 


Suggestion’s foe Women’s Clubs 


75 


Barrett, Chas. R.: “Short Story Writing,” Baker & Taylor 
Co., New York. 

Campbell, Oscar J., Jr.: “A Book of Narratives^” Henry Holt 
& Company, New York. 

Canby, Henry S.: “The Short Story in English” (History of 
short story, Notes on Hawthorne, Poe, and Kipling), Henry Holt & 
Company, New York. 

Cross, E. A.: “The Short Story,” A. C. McClnrg & Co., 
Chicago. 

Esenwein, J. Berg.: “Writing the Short Story” (Technique 
and suggestions for young authors), Hinds, Noble, and Eldridge, 
Boston. 

Grabo, Carl Henry: “The Art of the Short Story,” Chas. Scrib¬ 
ner’s Sons, New York. 

Hamilton, Clayton: “Methods and Materials of Fiction,” 
Doubleday, Page & Co., Garden City, N. Y. 

Matthews, Brander: “Philosophy of the Short Story,” Long¬ 
mans, Green & Company, New York. 

Matthews, Brander: “The Short Story: Specimens Illustrating 
Its Development,” American Book Company, New York. 

Neal, Robert W.: “The Short Story in the Making,” Oxford 
University Press (American Branch), New York. 

Perry, B.: “A Study of Prose Fiction,” Houghton, Mifflin & 
Company, New York. 

Pitkin, W. B.: “The Art and the Business of Short Story 
Writing,” The Macmillan Company, New York. 

Smith, C. A.: “The American Short Story” (Historical de¬ 
velopment in American), Ginn & Company, New York. 

Smith, L. W.: “The Writing of the Short Story,” D. C. Heath 
& Company, Boston. 



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